PRESENTATION DES ENREGISTREMENTS

« How does the world sound ? Composition & sonic environment »

As part of the Europe B-AIR project, these days have taken place in Cuneo (italy), at the Conservatorio di Musica G.F.Ghedini from 5 to 8 October 2022.

Taking inspiration from a phrase of Jean-Claude Risset (pioneer of musical research founder of Music Research Center ACROE and initiator of the AST-Art Science Technology concept): “One of my early desires as a musician was (…) to compose the sound itself, instead of merely composing with sounds.”

This contribution has involved, as active host, the METS (Electronic Music and Sound Engineering) Department of Cuneo Music Conservatory, as well as local realities related with B-AIR themes.

The event followed a format successfully adopted in previous face-to-face appointments: the mornings were devoted to public lectures, presentations, debates and meetings, while the afternoons and evenings were dedicated to on-field activities – research actions, workshops, performances – that also involved a broad public.

These recordings are part of the research:
B-AIR – Art Infinity Radio – How does the world sound?

ORGANISATION TEAM :
Giuseppe Gavazza, Gianluca Verlingieri, Massimo Deidda, Simone Giordano, Federico Maiocco, Paolo Isaia

INDEX

NB: developped abstracts & related documents of each item can be found on the 
bibliographic references page

01 – Opening Welcome

02 – Dance_performance

We only publish here the soundtrack composition of the performance which can be seen on:

https://cressound.grenoble.archi.fr/son/2022_B-AIR_Cuneo_days/02_dance_performance_LEGER.mp4

03 – Radio_promenade Time Machine
Giuseppe Gavazza

While preparing Radio Wega B-AIR to be presented in Port Bou in September 2021, I collected hundreds of audio files of radio broadcasts covering the entire history of radio: from Marconi’s first broadcast in 1901 to a news broadcast in French on 30 January 2020 personally recorded on field in the Moroccan Sahara announcing the flu in Wuhan, China.

The 135 fragments from these files that I used for Radio Wega B-AIR will be uploaded to some thirty speakers will be loaded separately – collected for years in close proximity – onto some thirty portable speakers the size of a pocket radio. Each of these pocket speakers will thus become a time machine: a radio that, by broadcasting transmissions from more or less distant years, will accompany us on our walk from one venue to another of the B-AIR_Days 2022 inauguration events.

04 – Conferences day 1

04-1 – Sonic Experience: A Guide To Everyday Sounds
Nicolas Tixier, Jul McOisans – Cresson

Are there qualitative tools specifically adapted to the analysis of the sound environment and what is their operational value? Since the seventies, several tools of reasoned description were proposed like the “sound object” or the “soundscape”. Theoretically fundamental, these instruments remain partially unsuited to the scale and pragmatic imperatives of architectural and urban design. The “sound effect” can be reduced neither to an exclusively objective data, nor to a subjective data. It is more precisely the product of an encounter, of a correspondence, of an interaction between the physical, “objective” soundscape, the soundscape of a cultural community and that specific to each individual. Susceptible of precise description either from the acoustic point of view, or from the point of view of the built environment, or from the point of view of the psychosociology of listening, the sound effect can first of all serve to decompartmentalize the fields of knowledge on the sound and the sound practices. It can also be particularly useful as an aid to measurement, as a descriptor of complex sound situations, as a tool of representation, of intervention or as a pedagogical tool. A repertory has been elaborated, it crosses the descriptions and the analyses of more than eighty sound effects and specifying their correlations, is a major contribution to the elaboration of a true instrumentarium adapted to the Listening of the environment.

see also           > https://aau.archi.fr/cresson/cressound-2025/la-boite-a-effets/

04-2 – L’isolato: Geometries of cohabitation
A.Ceraso, A.Fantino – Cuneo

see also the video      > https://www.youtube.com/watch?v=jjQloeKHnTg&t=4s

04-3 – Noisy fairy tales: Aesthetic foresight and planning consistency in Sergio Liberovici’s didactic works.
Francesco Cristiani – Torino



Sergio Liberovici, probably the most significant composer from Turin in the second half of the 20th century, dedicated the last years of his life to investigating children’s musicality. It is no coincidence that he came to the world of childhood after a life spent in ethnomusicological research, music for theatre, cinema, radio and television, musical theatre and opera. These divisions and categories for the child do not exist because in childhood, our experiences are always total.
I had the good fortune to collaborate with Sergio Liberovici during these intense years working in the field of musical theatre for children. I also inherited the class of Composition for Teaching at the Cuneo Conservatory where I still teach, following his premature death in 1991.

see also           > https://it.wikipedia.org/wiki/Sergio_Liberovici

                        > presentation

                        > Video

04-4 – Radio compositions for babies

Ntana Papachristou, Yorgos Samantas  – TwixLab



Following RTVSLO’s proposition, sound artists Dana Papachristou and Yorgos Samantas presented a first sample of their upcoming work, “Together”, a radio piece for infants with experience of hospitalization. The work is initially driven by a narrative libretto (“the pairing of a hospital pillow white feather with a wounded black bird who misses a feather”), which is built upon with soundscape and musical composition.

The presentation is meant to be a “pitching” session, in order to initiate dialogue and receive feedback from more experienced partners who have been working systematically with neuroscientists, cognitive and developmental psychologists and in synergy with composers, so as to share best practices on the particular field of radio composition for babies and toddlers, and for vulnerable audiences, particularly for managing potential distress in hospitalization contexts.

04-5 – Emotional music education and sonic identity in a context of social vulnerability.

Silvia Cucchi – Cuneo Conservatory



Educational Soundscapes composition supports the construction of sense, through the evocation of symbolic valences and the activation of somatic processes: thanks to these features, the perception and communication of a personal soundscape encourages a specific mode of being-in-the-world and enhance awareness in all individuals. In this talk we briefly present an Research-Action project carried out by the Department of Music Didactic in Academic Year 2020-21 on this issue. Starting from the discussion and analysis of data collected in a survey on the problems encountered by music and support teachers in Italian schools, we document three experimental soundscape-based practices, respectively in the distinctive fields of vocal didactics, instrumental lessons and music listening didactics in schools, carried out in a blended mode (at distance and in-presence) devised by our students during their internship training.

see also           > presentation

05 – Cresson workshop



After the presentation of sonic effects in the morning, this workshop will simply be a practical exercise, going out into the field in small groups, to hunt for sonic effects. We’ll try to locate them, listen to them, record them, or even produce them.
It will also be the occasion to test & compare the different recording tools & type of microphones Cresson brought to Cuneo : Parabolic, ORTF stereo, MS micro & Dummy head.
At the end of the afternoon, we will pool and share what each group has brought back.

06 – Music Kitchen performance Live (italian version)

Radio play for babies Music Kitchen: When a spoon becomes baby’s first ever instrument. And your kitchen a concert stage.

Music Kitchen is a radio play for babies and toddlers from 6 to 18 months old. Its theme are baby’s early rituals when learning to seat at a dinning table and combines realistic sounds from an everyday kitchen environment with elements of electro-acoustic composition, creating a stimulativemusic composition accompanied by a text, narrated by actress Maja Kunšič. 

Target audience are babies and toddlers in sensory-motor phase, which developmental psychology defines as a period in a child’s life, when they learn about the world with the help of activities that engage and stimulate their senses. Parents or caregivers play an important role in this process as they represent a model for the toddler’s interaction with the outside world.
(...)

CREDITS: 

Author of the text and Director: Tajda Lipicer
Composer and Author of original music: Alenja Pivko Kneževič
Interpreted by: Maja Kunšič
Expert advisors: Saška Rakef, dr. Katarina Zadnik, dr. Katarina Habe, dr. Katarina Kompan Erzar
Sound Engineer: Urban Gruden
External Collaborator: Žiga Hren

Produced by: B-AIR LAB, Radio Slovenija

07 – il ciangottio – (the chatter – le babil) 

Live in Parco della resistenza - Cuneo

Psycho-energetic radio play Chatter is a musical tale, its theme is toddler’s vocal creativity – different ways to create sounds together with animals, trees and small children. When toddlers begin learning their first syllables, they usually enjoy it very much; but not because they want to communicate (like adults), they have other tools for that since they mostly communicate on an energetic level from the day they’re born; instead, while learning different syllables they actually enjoy the process of creating (with) their own voices and the music made in this process.

Chatter‘spoetic vantage point is its assumption that children may be able to understand the language of animals, and that animals understand the language of toddlers. Children and animals communicate at a level, inaccessible to adults. Practicing non-verbal, meaningless chatter children are able to enter this dialogue. Interpretation of syllables – chatter – is not about exchanging verbal information; it’s more of an energetic sound exchange.
(...)

CREDITS

Text and story: Irena Pivka
Musical composition: Brane Zorman
Interpreters
Narrator’s vocal: Nada Vodušek,
Toddler: Kiran Benjamin Rosenbluth – Orli
Toddler’s vocal guides: Nina R. Orlić, Brandon Rosenbluth
Baby-girl and grown-up singer: Naomi Uma Zorman
Producer: Saška Rakef

Production: Radio Slovenija, B-AIR project RTV

08 – Conferences day 2

08-1 – Composing Radio Plays for babies
Katarina Kompan Erzar – RTV Slovenija



(recording missing)


The sound of secure relationship – radio plays that promote connectedness

Developmental and neuroscientists have repeatedly demonstrated and confirmed that the development of the baby is only possible in attuned and safe relationship with the caregiver, thus highlighting their relationship as the basic target of our intervention. When dealing with implicit, unconscious part of our brain and experience, the sound is one of the most powerful media that could promote development and formation of secure attachment relationship and thus enabling the baby’s and the adult’s growth and creativity. The music perception skills of prelinguistic infants are surprisingly similar to those of listeners who have had years of informal exposure to music and that is why composing the interactive artistic audio performance for babies is not an easy task.
(...)

Related PDF:  08-1–Composing radio plays for babies

08-2 – Sound, rhythm, music and communal care

Rajko Muršič – RTV Slovenija



In Rhythmanalysis, Henry Lefebre rehabilitated rhythm as a very potential analytical concept. Repetitions in space and time, returns and reprises justify our lives. However, are rhythms we live with “natural” gifts or acquired practices? Perception of natural rhythmic movements among the toddlers is a bit naïve: they must learn rhythms experientially and/or by surrendering “natural frequencies”.

The author will take into consideration experimental radio drama and opera for infants, toddlers and parents in order to discuss relationship of sounds, music, voices and movement in communal care for babies, children and other people.

Related PDF:  08-2–Sound_rhythm_music_communal_care

08-3 – It would be great to hear wolves howling. I’ve never heard it!

Jukka Mikkola – Suomen Yliopisto



A toneful inside look at the Evening of Sounds in Finland.

Sounds can affect us in many ways. And they do it, whether we like it or not. Sounds create feelings, they bring up memories, they can bring our past, the days gone by, back to life again. You can remember and feel many kinds of feelings and memories connected with sounds. Everyday sounds or special kind of sounds, sounds which are common or sounds that are no longer to be heard.

Sounds and sounscapes are a very important part of our life. Sounds carry our history and they tell us many kinds of things and stories. That is the idea behind the Evening of Sounds.

Evening of Sounds is a live radio show broadcasted since year 2012 – that means for ten years now. It is broadcsted by The Finnish Broadcasting Company (FBC). FBC (YLE in Finnish language) is Finland’s national public service media company.
(...)

08-4 – Radiophonic media and sound memories of the oldest

Helmi Järviluoma & Heikki Uimonen  Suomen Yliopisto



(recording missing)


Finnish Broadcasting Company’s call-in live programme on environmental sounds called Äänien ilta (Evening of Sounds) consists of callers’ sound requests, narratives on their personal experiences, and memories on the contemporary and historical sonic phenomena of diverse settings. The concept will be expanded to a programme International Evening of Sound in collaboration with public radio stations and sound art in Slovenia, Serbia, France and Finland.

Sound requests are fulfilled with the help of sound archives and present-day soundscape recordings. The latter will be enabled by collecting sound-related memories during fieldwork and workshops in care-homes and among elderly people in aforementioned countries. Sonic remembering workshops make it possible to create a platform to connect the three pasts with their diversities, but also the common lives; taking into account the closeness through the past of the three countries.
(...)

08-5 – Composing using AIR tools

Jan Jona Javorsek – Institut Jožef Stefan, Gregor Pirš – RTV Slovenija



10 – Concert / Performance

Prof. Faraci & METS students



11 – Conferences day 3

11-1 – Composition sonic memory, trauma, soundscapes and narratives

Ntana Papachristou, Yorgos Samantas – TwixLab



“Récits” (sound composition based on research on the theme of sonic monumentality),

presented in a relaxed performance format. Sonic memory is further linked to TWIXTlab’s  ongoing “Audibility” research, concerned with the Deaf and hard of hearing experience with sound. According to contemporary research findings, the development of sonic memory (-ies) is crucial for the cognitive development for early-aged cochlear implant users. It is hereby presented as a promising field for developing pedagogical curricula that elaborate deeper into the linking of sensory perception with cognition. Departing from “Récits”, the presentation further presents an argument on the soundscape as commons, and its relation to citizenship and political agency for Deaf and hard-of-hearing individuals and communities.

(...)

11-2 – A Guide to Life: Sound, Time and Environment/Space

Nikoleta Dojcinovic, Marijana Gojkovic – RTS – SRBije



(recording missing)


RTS will present research progress in relation to WP6: will present the sound walk of a blind colleague who once a month, on the same date, but at a different time, records his way to work at Radio Belgrade.
Will also present research in sound archeology that will be related to EEoS.

11-3 – Radio UGI, The voice of UGI’s world

Nicola Derio – UGI Torino



Over 40 years, UGI ODV has been working to improve the children and teenager’s quality of life during their treatment and help their families to address all difficulties (personal, financial and logistics) that may arise during their children’s
disease. Beyond these goals, UGI believes in engaging youth from many perspectives.

That is why in 2018 the Radio UGI’s project began, an ever-growing communication project that has two main goals. Makes the voice of hospitalized young people heard outside and to create a link between the hospital’s environment and the many associative entities that gravitate around the Regina Margherita Hospital institution.

11-5     – EARTHEART

Gianluca Verlingieri - Cuneo



12 – GG’s B-day

            > Video

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Retrouvez la collection Cressound sur le site du laboratoire Cresson 

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